# Tag Info

13

This problem can be solved with noise-shaping. Since the shape of the spectrum is known, it can be used as a base for the power spectral density: $$P(f,T)=\frac{ 2 h f^3}{c^2} \frac{1}{e^\frac{h f}{k_\mathrm{B}T} - 1}$$ where $k_\mathrm{B}$ is the Boltzmann constant, $h$ is the Planck constant, and $c$ is the speed of light. This outputs the relative ...

4

As Thomas has commented, the trick is that we only assume first order terms and this convective acceleration would be small of the second order. In fact, that is one of the first assumptions to drop when you consider more general cases. See e.g. Burger's equation for first generalizations and/or Lighthill's equation for source terms arising in the wave ...

4

From a physics perspective: No. Relative differences can be detected as you point out, but in order to test which ear is normal, you need a reference. In the case of pitch difference, you can use one of the ears as reference for the other. In your case, the absolute reference scale is missing. And you can't get it from another person, because perception is ...

3

First, some fraction of incident sound power will pass thru any object, human body or not, so your title makes no sense. The real question is how much this body will attenuate the frequencies of interest. Below some attenuation, you either don't care or it's below the noise floor of the sensors to detect it. However, this depends on what you care about, ...

3

It's a bit pat maybe, but if the wavelength-dependence were detectable over human distance scales, the (quality of) sound (not just the volume) of music, speech etc. would depend noticeably on how far one were from the source.

2

If you are cooling your object that you wish to hear, then the exact sound will depend on the exact temperature (as given by yuki96's answer at 17nK). However, any temperature above the nanoKelvin temperature scale will sound the same, but the volume will increase with temperature (according to the Stefan-Boltzmann law). The sound of a warm blackbody (such ...

2

Good theoretical answer is that it results from linear acoustical wave equation and its presuppositions. It is therefore good approximation whenever linear acoustics still can describe the wave propagation (that would by e.g. 90% of room acoustics practical examples). Typical examples of problematic models are large-amplitude events (e.g. a shockwave after ...

2

Consider a small segment segment under tension From the balance of the horizontal axis you have $$-T \cos \theta + (T+{\rm d}T) \cos (\theta+{\rm d}\theta) = 0$$ $${\rm d}T \approx T \tan(\theta) {\rm d} \theta$$ Integrating by separation of variables $$\int \frac{1}{T}\,{\rm d}T = \int \tan(\theta)\,{\rm d}\theta + K$$ $$T = \frac{{\rm e}^K}{\cos ... 2 Good question. My Problem is that I can't give you a "Mainstream answer". The reason is that Turbulence is considered happening In three space dimensions and time, given an initial velocity field, there exists a vector velocity and a scalar pressure field, which are both smooth and globally defined, that solve the Navier–Stokes equations. But with these ... 2 Sound is a compression wave not a shear wave, so the viscosity of the liquid has no (direct) effect on it. The speed of sound in a liquid is given by:$$ v = \sqrt{\frac{K}{\rho}} $$where K is the bulk modulus and \rho is the density. The viscosity does not appear in this equation. A quick Google found data on the speed of sound in liquid helium in ... 1 The assumption when linearizing is that the deviations/perturbations are very small compared to the reference (averaged) values. Typically the derivatives of the deviations are of the same order as the deviations themselves. Consider the deviations having this functional form in 1D:$$u'=\Delta u\sin kx\quad \partial_x u'=k\Delta u\cos kx The deviation ...

1

It will definitely be the inertia of piano action mechanism. The fact (or construction problem), that you can't repeat a tone fast enough is a real evergreen throughout the history of keyboard instrument development (read more here). Usually the trade-off for lower repetition rate is higher sensitivity of the key. Sci-fi appendix: But right, let's suppose ...

1

Let the hammer that strikes the string moves a distance $\Delta x$ above the string and then hit the string back due to gravity. Or take some other mechanism like a spring which puts the note back to the unpressed position after pressing that note. The time it takes to get a particular note back to unpressed position after it being pressed is the main factor ...

1

Nice question and lovely piece of optimization! I have been thinking about that for a while. I can only answer from a point of physical music acoustics. It appears to be interesting feature for drum design and construction but my considerations end with a conclusion that it is not much useful in praxis. Here is why: Case 1 - Directly struck drum: the sound ...

1

The spectrum of various resonant tube arrangements (half-open, fully-open fully closed) is something that can be measured in a very basic laboratory and gives solid evidence that the claim is true over the kinds of frequencies that are accessible in such a lab. Say a few hundred to a few thousand hertz.

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